摘要
艺术批评在对艺术作品进行意义阐发追问和价值判断的同时,承担着沟通作品、作者、读者和世界等各主体间关系的任务。但作品意义的多元性和不确定性也使得艺术批评容易出现过度阐释和强制阐释等倾向。前者以读者本位突出意义的无限性和衍生性,后者以理念本位使艺术意义成为服务批评者预设理论立场的证言。对阐释限度的讨论作为20世纪中后期以来,艺术评论领域的重要学术议题,本就是一个充斥多重声音和多种可能的场域。以简单一元化或二元对立的视角审视不同阐释倾向的优劣显然容易走向极端。艺术批评面对的艺术对象需要从系统性和历史性的视角和方法着手,使阐释既不脱离批评对象本体,又能通过开放的可能性挖掘作品“象外之象”的延伸意义与创造性含义。
Art criticism interrogates artistic meaning and makes value judgments while mediating relationships between artwork,artist,audience,and world.However,the multiplicity and uncertainty of artistic meaning can lead to tendencies of over-interpretation and forced interpretation in critical analysis.The former emphasizes unlimited meaning generation from a reader-centric perspective,while the latter subordinates artistic meaning to serve the critic's predetermined theoretical positions.Discussion of interpretive limits has been a significant academic topic since the mid-twentieth century,inherently comprising multiple voices and possibilities.Examining different interpretive tendencies through simplistic unitary or binary oppositional perspectives risks extreme positions.The artistic objects faced by criticism re-quire systematic and historical approaches that neither detach from the critical object itself nor restrict the open possibilities for discovering extended meanings and creative implications beyond literal representation.
出处
《上海视觉》
2025年第1期25-31,共7页
Shanghai Vision
关键词
过度阐释
强制阐释
多元阐释
艺术批评
阐释边界
over-interpretation
forced interpretation
multiple interpretation
art criticism
interpretiveboundaries
作者简介
祝明(1997-)男,中国传媒大学艺术研究院传媒艺术与文化研究中心博士研究生在读。研究方向为传媒艺术,艺术理论与批评。
